Reversed Leadpipe

Hi all I am in the process of buying the yamaha YTR 8335RGS and I love the quality of sound I can produce with it.
I played the YTR 8335RGS against the YTR 8335 and I found that I played the YTR 8335RGS with much more ease.
The only manufacturing difference between both trumpets is the reversed leadpipe in the 8335RGS.
I don´t quite understand the benefit of the reversed leadpipe so any information would be greatly appreciated

In my opinion, the reverse leadpipe doesn't do much. I believe it was designed for better air flow, but I have played several and don't notice much of a difference. You should try it out for yourself though.

As you can see, on the reversed one, the bottom portion of the tuning slide is attached to the trumpet rather than the slide.

In my opinion, the reverse leadpipe doesn't do much. I believe it was designed for better air flow, but I have played several and don't notice much of a difference. You should try it out for yourself though.

As you can see, on the reversed one, the bottom portion of the tuning slide is attached to the trumpet rather than the slide.

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Actually it is the other way around. Generally thought to reduce resistance.

A problem with reverse leadpipes is that the front leadpipe to bell brace has to be moved a long way back towards the valves. It attaches right near the pinky hook, making that spot too busy, and leaving too much (for strength and playing characteristcs) bell unsupported. There can be no consideration of the optimum brace placement.

I have made this conversion on several customers horns; in my opinion the improvements they noted about could have been just as easily been achieved by removing the factory-built stresses around the braces.

A problem with reverse leadpipes is that the front leadpipe to bell brace has to be moved a long way back towards the valves. It attaches right near the pinky hook, making that spot too busy, and leaving too much (for strength and playing characteristcs) bell unsupported. There can be no consideration of the optimum brace placement.

I have made this conversion on several customers horns; in my opinion the improvements they noted about could have been just as easily been achieved by removing the factory-built stresses around the braces.

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I totally agree. An example of this lack of a a forward bell brace as found on most American long cornets that have no forward brace. This was and is thought to be condusive to better feedback to the musician, but, in the mind of some, lesser projection. All testing should be done in a teamwork method. While one player plays a given chart, the other listens in a room similar to where the prospective purchaser intends to use the horn. Then, the two musicians trade places, so that they both get an idea of how the horn truly performs.
In my 'accumilation' I have several trumpets and cornets with reverse leadpipes. I do not find them in any way advantagious. In fact, in retrospect, they are my least favored horns.

When you locate the brace that far back, the bell DOES ring more. That lets the player hear themselves better and THAT is the symptom "freer blowing". My experience is that the audience gets "less" but the security for the player is higher.

I don't necessarily agree with the brace that far back being bad. The C trumpets most commonly used where serious playing is done ALL have the brace that far back and the bell "free". I have played enough that "came alive" in my hands to develop the opinion that there are many bracing concepts that work, they just need to be complementary.

I think the issue is not "damping" the bell vibrations, rather transmitting them to a particular place at the other end of the horn - acoustical feedback. The same goes for the rear brace. Dave Monette even uses a much more rear massive brace - coupling the bell even more solidly to the leadpipe.

There are many roads to success. The trick is to find the right comprimises for our own playing situation. In a recording studio, on the marching band field or in similar miserable sonic environments, the reversed leadpipe could be a big help in at least keeping the player informed.

With those two Yamaha horns (that I have auditioned extensively), I feel the difference is as I have described it: normal bracing and tuning slide = more for the audience, reversed = more for the players ears.

I am trying to learn more about the effect of reversed leadpipes on trumpets as well. I know most people rave about the unique dark, smokey sound that the Martin Committee trumpets produce. From photos I've seen, they appear to have reversed leadpipes. If having a reversed leadpipe on a trumpet is considered a negative, why are Martin Committee's considered such great trumpets?

I tend to attribute some of the positive aspects of the 8335RGS to the heavy receiver more than the leadpipe difference. The RGS has a more concentrated tone than most other Yamaha Bb's, at least for me. It's also harder to hear yourself compared to other Yamahas when playing in a large group.